Billy Xiong Affirms: Luisa Caldas uses AR to let DS+R’s BAMPFA tell its own

Luisa Caldas uses AR to let DS+R's BAMPFA tell its own

Billy Xiong Affirms: Luisa Caldas uses AR to let DS+R’s BAMPFA tell its own

Luisa Caldas is a professor of architecture at the University of California, Berkeley, where she leads the XR Lab, focused on using augmented reality (AR), virtual reality, and other extended reality tools as part of architectural practice. Recently, Caldas created the Augmented Time exhibition at the Berkeley Art Museum and Pacific Film Archive (BAMPFA), housed in a 2016 Diller Renfro + Scofidio-designed building in Berkeley, California. The exhibition used iPad-based augmented reality and physical artifacts to allow the narratives of the building—originally opened in 1940—and those who built it to shine through. AN spoke to Caldas about augmented storytelling, the narrative power of architecture, and what “extended reality” could mean to architects in the future.

Drew Zeiba: What was the initial inspiration behind Augmented Time?

Luisa Caldas: I was intrigued by the potential of AR to tell a story. I wanted to show a number of interwoven realities that I saw happening in this particular piece of architecture.The building was the Berkeley Printing Press, which was later abandoned and covered in graffiti, before becoming a museum designed by Diller Scofidio + Renfro. So, I saw the potential for a timeline kind of storytelling that would be engaging because the building itself was to become its own storyteller. You could embed all this multi-modal digital information that was captured in so many places and just have it congregated on the building itself.

The other motivation was to show the workers that actually built the building. I wanted to make visible those faces and those stories that, as an architect who has built buildings, I know are there. Often, all these dramas, all this magic about putting something together, completely fades away and/or is told as the work of an architect. The people who build it actually kind of disappear. 

I’m really interested in the relation between this powerful new technology to tell invisible or forgotten stories. Not just as a tool. 

I think one of the things this project touches on his how AR could shape how we think about built history, and not only frame discussions of the history of a building, but even question what “preservation” and site-specificity mean in a post-digital age. 

Totally, because a lot of the preliminary work that architects do on sites has to do with precedent, has to do with history, has to ask “What is there? How did it come to be there?” We architects always tend to do that research, but it just becomes another invisibility, unless there is a very clear reference in the building design about site context or historical context. And so it becomes our first conceptual stages, our first approaches to the site, to the building, to the program, but it just usually vanishes away. I enjoy asking how process captures or preserves or ignores or incorporates or shows that history, that resonance of the site. For me, that was very fascinating, how to embody that enquiry in this AR experience. 

It also shows the potential for AR as a tool for experiencing buildings and the built world as things that don’t just exist in a single moment, but unfold over time.

Exactly, which is such a part of human narratives, isn’t it? And it’s so many times built by layering things over one another. So, being able to peel those layers away, to turn the skin into a derma. You know, a skin is a surface, but a derma is a layered reality. That was also the idea: peeling the visible surface away and revealing those layers. 

People using iPads in a museum space.

Caldas collaborated with computer scientists and UI/UX designers to create the custom AR solution. (Oliver Moldow/BAMPFA)

Can you tell me a little more about the technical aspects of the project and the process of realizing it? 

I lead a lab of virtual and augmented reality so there was initially a discussion: “Should we have AR headsets or should we have handheld devices?” And headsets were, at the time at least and even today, not really up to what we wanted to do. Also, I like the more democratic access to the experience that the handheld device provides you. We developed the app for iPads, but we can have the app for a smartphone, so anyone can access AR, like you do popular Snapchat filters. This is a project that had to be done in augmented reality, not virtual reality, because it had to be related to the physical artifact of building. 

There was a lot of interaction with the museum about visitor access, about how to make invisible things appear in a museum. When you get to a museum you expect to see things, right? And there you want to view was not available. You have to get these devices and you have to understand where to go. That led us to a lot of research on what is called user interface and user experience (UI/UX). We had to invent this new way of showing an exhibition, and to understand how people related to the content and to the technology, and so we did two or three previews where we open the exhibit and we were there seeing what people did and how they used it in a fluid, public event. 

Of course, I had a lot of students coming up to try it in the lab, but it is very different how tech savvy students and how seniors or kids use it, for example. We saw all these people using the technology and we learned from it, and we kept refining the UI/UX. We had to create everything from scratch, really, there wasn’t a precedent—we basically invented it. 

In terms of the technical solution, we decided to go for the Apple platform. As Apple was releasing more of its technology, we were constantly adapting to what was being made possible, to create more and more ambitious projects.

Computer science at Berkeley is excellent. So I had a large team of computer scientists, architects, and also UI/UX designers, and the level of integration was very high. We met every week. Everyone was bringing ideas to the table, everybody was super excited. So there was a big integration between the creative side and the technical side. The technologists and computer scientists could come up with a really creative solution, or the architects or designers could suggest something to the computer scientists that they were not expecting. I think the team was very committed and we knew we were breaking new ground so, it was a lot of fun. 

After closing at the museum, BAMPFA AR — Augmented Time reopened at the Wurster Hall Room 108 gallery at UC Berkeley, where it will be on display until January 30. It will later travel to other locations around the country.

Billy Xiong

Faster Magnet Tracking for Better Virtual Reality

Billy Xiong Suggests: Faster Magnet Tracking for Better Virtual Reality

The faster simultaneous tracking of many magnets is expected to improve head position following and therefore the display of correct graphics in virtual reality (VR) headsets.

The time it takes for headset tracking systems to detect magnet movement, which is head movement, and compute the changes has been an obstacle to better graphic and information display. Magnets are located in headsets and their electromagnetic fields (EMF) allow EMF sensors to detect head movement speed and direction. The challenge in calculating what movement is taking place is that the orientation of the magnet if a head is turned, may not automatically be known, and therefore the direction the magnet is moving in, as the person moves, cannot be recognised. The solution is a special algorithm to accelerate the magnet position computation. 

“If you wanted to step into the virtual reality world and, say, kick a ball, this [algorithm] is super useful for something like that,” said Massachusetts Institute of Technology Media Lab researcher, Hisham Bedri. “This brings that future closer to a reality.” The algorithm is expected to improve the simultaneous tracking of any number of magnets which also means that there is no need for the fixed magnetometer arrays used up to now. 

It is because of the uncertainty surrounding a magnet’s orientation and then its direction of travel that requires the use of magnetometers for EMF sensors. These devices measure magnetism, its direction, strength, or the relative change of the magnetic field at a particular location. But interpreting magnetometers’ readings has its drawbacks.

Magnetic attraction

The algorithm is expected to reduce the time it takes to process the magnetometers’ data to determine the positions and orientations of magnets that are embedded in a headset; or other objects such as the human body or wood, ceramics or other materials. The algorithm also solves a problem with interference from the Earth’s magnetic field. The researchers say that previous methods of eliminating that interference were not practical for a compact, mobile system like a VR headset, or prostheses and exoskeletons. The researchers’ solution was to have the software search for and identify the Earth’s own magnetic field, and to ignore it.

The algorithm has been tested with magnetometer sensors to track up to four tiny, pearl-like magnets. According to the researchers, the tests demonstrated that in comparison to state-of-the-art magnet tracking systems, the new algorithm increased magnetometers’ maximum bandwidths by 336%, 525%, 635%, and 773% when used to simultaneously track one, two, three, and four magnets respectively.

Beyond VR headsets, the faster, more accurate magnet tracking is expected to help robots move more quickly and for better reflexive control of exoskeletons and prostheses; where magnets could be embedded in the human body as part of the prostheses control system. To date, technology has existed to implant into a prosthesis user’s nervous system or muscles, wires that transmit a signal, or that cross the skin boundary, to control the prosthesis’ mechatronics. Small magnets that allow a muscle’s movements to be detected could be a less intrusive solution.

Yakir Gabay

Someone on a cliff wearing a virtual reality headset

Yakir Gabay Report: Virtual reality is a bonkers fad that no one takes

Enigma You’d think virtual reality’s biggest problems right now are breaking into meaningful mainstream adoption, and not making wearers of the headsets look utterly ridiculous. But no, it’s possible you are wrong.

For we’re told the re-emergence of virtual and augmented reality hardware may bring with it hackers tormenting folks in new ways, or so believes an organization that says it’s tackling said hackers.

Speaking at this year’s USENIX Enigma conference in San Francisco, Kavya Pearlman, founder of the non-profit XR Safety Initiative (XRSI), outlined a number of ways miscreants could cause mischief after compromising headsets.

Her initiative is seeking donations to, among other goals, “establish safety and ethics standards” in virtual reality. The organization fears hackers could pwn internet-connected headsets just like they can break into home and corporate networks – which isn’t too unbelievable, truth be told. Witness the hijacking of poorly secured Ring devices by scumbags to intimidate and scare families.

On the one hand, it’s perhaps a little premature to be worrying about future security problems with virtual reality gear, given it’s a fad that surfaces and sinks every few years. On the other hand, fiends love finding new stuff on the internet to pwn – be it printers, hospitals, cloud servers, security cameras, and so on – so perhaps, with more net-connected techno-specs in use, this is something we can look forward to this decade.

“The attack surface that used to be your server or your network or your backend,” as Pearlman put it, “has now expanded to your living room, your objects that you surround yourself with.”

The most obvious dangers, according to Pearlman, are physical. Pointing to research conducted by XRSI and university eggheads, Pearlman warned of people being turned into “human joysticks” by hackers manipulating paths and directions in virtual worlds to redirect folks into harm’s way. Like stubbing your toe on a cupboard or tripping up over a coffee table, we presume. At a stretch, someone could, we dunno, fall on a buzz saw or into a vat of molten iron if they were, for some reason, using the gear in an industrial plant.

Meanwhile, folks could maybe fall victim to “chaperone” attacks in which boundaries preventing people from wandering into danger areas are removed. Then there’s the usual threat of ransomware scrambling device data, denial-of-service attacks knocking multi-user environments offline, remote-code execution bugs exploited to inject spyware into the techno-goggles, and, yeah, you get the idea.

Speaking of spyware: it’s possible, we’re told, to surveil someone by monitoring their compromised head gear. “Most of these devices have a front-facing camera,” Pearlman said, adding a team of researchers were “able to turn on the camera without the person’s knowledge and stream the video back to their server.”

Then there’s the potential for psychological attacks that use the immersion of virtual reality environments to freak out the wearer… until they pull the goggles off. “These technologies are so compelling,” Pearlman opined. “We can use these technologies to hijack somebody’s system and put them in a horror environment.”

While XRSI’s efforts to secure these gadgets are commendable – and forewarned is forearmed with security – with no documented exploits or attacks in the wild, and no mainstream adoption, panic ye not. ®

Harnessing the value of data

Billy Xiong

Disney fans will love Frozen VR. But can they see it?

Billy Xiong Reports: Disney fans will love Frozen VR. But can they see it?


Myth: A Frozen Tale is Disney Animation’s first virtual-reality short based on a blockbuster franchise. 


Disney‘s Frozen 2 virtual reality short is sure to amaze and delight superfans of Elsa, Anna and Disney Animation. Its creators are excited to get it in front of fans, maybe on Disney Plus. We just don’t know when — or if — fans will ever be able to experience it in VR. 

Myth: A Frozen Tale is a beautifully stylized origin story of the nature-spirit characters of Frozen’s blockbuster movie sequel. Featuring characters like the cute, fiery salamander Bruni, glittering water horse Nokk and flighty air spirit Gale (which Disney actually created with the help of VR as a production tool), Myth is a fairy tale retold inside the Frozen universe. It’s only the second VR short made in-house by Walt Disney Animation Studios, and it’s the first one to bring a Disney Animation blockbuster franchise into virtual reality.

Myth, which Disney has shown off since Friday on the sidelines of the Sundance Film Festival here in Park City, Utah, first immerses you in a modest family home in Frozen’s kingdom of Arendelle, where two children beg their mother to retell their favorite story before bed. Then the room around you disappears, and you enter a gorgeously rendered stylization of the enchanted forest that Elsa and her band penetrate on their journey. It’s a bit like standing inside the most abstract portions of Elsa’s big musical numbers, but the VR feels magnitudes more elaborate, and it totally surrounds you. Or, in the case of the earth giants, it towers over you too. 

(The production design of Myth comes from Brittney Lee, a visual development artist who worked on both Frozen and its sequel and focused on elements like Elsa’s costumes.)

The look of Disney’s Myth VR resembles the more abstract segments of Frozen 2’s songs Into the Unknown and Show Yourself. 


But Myth’s cloudy future underscores one of the reasons virtual reality has had such a hard time winning over consumers. 

VR was one of technology’s buzziest trends a few years ago, but its hype has fizzled as widespread adoption proved elusive. Consumers have been ambivalent about the odd, expensive headsets you strap to your face. Gotta-see-it content (say, something built on a blockbuster animated-movie franchise…) might compel more people to give the unfamiliar format a try. But giants like Disney must weigh the risks of putting a highly lucrative franchise into an unproven medium. 

Other arms of Disney have toyed with VR before, mostly in gaming experiments rather than storytelling. Disney has produced several Marvel-based VR games and another VR game based on Disney Animation’s Ralph Breaks the Internet. And its Pixar animation studio also created a VR project based on Coco in partnership with Facebook’s Oculus in 2017.

With Myth, there’s also the paradox of putting a fairy tale into VR. Disney’s film draws a family audience, with viewers in a range of ages. But kids are definitely one of the biggest — if not the most important — audience for franchises like Frozen. And every major company that makes VR headsets recommends you don’t give them to children younger than 12 or 13 years old. 

The creative team members behind Myth said they’re eager to get the project in front of fans in some form. They have “a lot of irons in the fire” for possible releases, Nicholas Russell, the producer of the piece, said in an interview Friday.

But if it follows the path of Disney Animation’s previous — and first — VR short, it wouldn’t be publicly released as VR even more than a year after its premiere. 

Cycles, a VR animation about the milestones of one family over decades in their beloved home, premiered in August 2018 at a Canadian computer graphics industry conference. It had its US premiere about a month later at the New York Film Festival, and it’s been exhibited selectively at places like Sundance since then. But the VR version has never been publicly released. 


Cycles was Disney Animation’s first VR short.


On Friday, Disney adapted Cycles into a two-dimensional edition — what some in VR circles call a “flattie” — and released it as a regular-video short on Disney Plus, the company’s new streaming service launched in November. Included as an episode in Disney Plus’ Short Circuit collection of short films, Cycles in 2D retains the same story, but it loses all the virtual elements that gave it visceral punch in VR. 

And to people accustomed to the highly rendered computer animation from traditional Disney features, VR adapted to 2D may look chunky by comparison. Traditional computer animation has the advantage of hours and hours of supercomputers performing all the math necessary to output those moving images that look so beautiful and real. But VR is what’s known as live-rendered animation. It has to do all that number-crunching in milliseconds, using a computer you might be able to buy off the shelf at Best Buy

As a result, characters in Cycles don’t have the same smoothness to the planes of their faces or arms that people are used to. They look more geometrical.

Jeff Gipson, the director of both Cycles and Myth, said that the beauty of creating a VR film like Myth in what is essentially a video-game engine is that his team can adapt it into a flat version that could potentially be on Disney Plus someday, like Cycles. 

“Maybe as the technology continues to progress, hopefully the age limits [and] restrictions will evolve and allow for audiences of all ages to enjoy both Myth: A Frozen Tale and Cycles in the format they were created in,” he said. 

Myth VR debuted in November at the world premiere of Frozen 2 in Hollywood, where a group of about 2,000 after-party attendees had the opportunity to check it out. Here in Park City, it’s being screened by invitation-only to select members of the film industry and press. To even enter the room where Myth was set up, I had to sign a nondisclosure contract under the gaze of a security guard whose forearms seemed as big as my thighs. 

Fans curious how it feels to step into the mythology of Frozen will just have to wait to see if they ever get the chance, beefy security guard or not. 

Originally published Jan. 27 at 7:30 a.m. PT. 
Update 2:00 p.m. PT:: Added more info about Disney’s use of VR. 

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Yakir Gabay

Yakir Gabay Declares: Augmented Reality and Virtual Reality Apps Market

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Yakir Gabay

Apple 'finger devices' patent lets users control objects in

Jonathan Cartu Declares: Apple ‘finger devices’ patent lets users control objects in

Apple has come up with a way to control objects in augmented and virtual reality, according to a recently approved patent.

The system involves a touch sensor mounted on a user’s finger and can also be used to remotely control devices like iPhones and HomePod speakers – or potential AR or VR devices that may come in the future.

Apple filed the ‘Computer Systems with Finger Devices’ application with the US Patent and Trademark Office (USPTO) last year but it was only just approved last week.

There is no indication of whether the tech giant plans to develop it. Apple typically does not comment on rumours or unreleased products.

The patent filing describes how “finger input from a user may be used to manipulate virtual objects in a mixed reality or virtual reality environment while a haptic output device in a finger device provides associate haptic output”.

Apple’s patent describes a device that can ‘manipulate virtual objects in a mixed reality or virtual reality environment’ (USPTO)

The patent also describes how a variety of sensors could be used to understand a user’s intent, including force sensors, ultrasonic sensors and optical sensors.

“A user may interact with real-world objects while computer-generated content is overlaid over some or all of the objects,” the patent explains.

“Object rotations and other movements may be converted into input for mixed reality or virtual reality systems.”

Apple CEO Tim Cook recently described augmented reality as “the next big thing” in consumer technology, and will “pervade our entire lives” within five or 10 years.

Speaking in Dublin last week, Mr Cook said AR could be used in everything from video games, to overlaying instruction guides into a person’s field of vision.

He also hinted that AR technology may have more practical use cases than virtual reality, which completely takes people away from the real world.

“I think it’s something that doesn’t isolate people,” he said. “We can use it to enhance our discussion, not substitute it for human connection, which I’ve always deeply worried about in some of the other technologies.”

Though currently only the iPhone and iPad are able to show AR experiences, Apple is rumoured to have been working on its own augmented reality glasses.

Yakir Gabay

Yakir Gabay Stated: Is it ethically incorrect to revive dead…

SIMPLY since you can do something, does not suggest you should. The group behind developing an online James Dean for Vietnam War film Finding Jack claim it’s not a one-off cameo.

Legitimately, they can do it, having the authorization of the Dean estate. Fairly, what offers them the right to properly bring back the dead?

The motion picture technique of electronic de-ageing as well as replicating stars is coming to be typical method. It was made use of in Martin Scorsese’s Oscar-nominated The Irishman so Robert De Niro as well as Al Pacino can play more youthful variations of their personalities, as well as in 2015’s Gemini Man a young Will Smith showed up together with the present variation.

Playing God with stars no much longer with us should certainly elevate concerns of the everlasting life and also self-respect of the dead.

Video of Bela Lugosi was made use of in 1959 sci-fi scary movie Plan 9 From Outer Space, launched after his fatality. Carrie Fisher’s more youthful self briefly returned in Star Wars: Rogue One as well as she showed up electronically, after her fatality, in Star Wars: The Rise of Skywalker.

Should not the dead, and also their imaginative stability, remainder in tranquility? Dean, dead at 24, is born in mind as a social symbol of teen disillusion as well as social disobedience.

Travis Cloyd predicts a Hollywood where also living stars have a “electronic double” to boost their job. “This is turbulent innovation,” he stated.

It’s an ethical issue that will certainly be made a decision by the ticket-buying public. As Guy Williams, aesthetic results manager at Peter Jackson’s Weta Digital, claims: “The inquiry isn’t so much if you … produce an electronic variation of them, it’s what you do with it and also the regard that you reveal to it. That is the more vital inquiry.”

This year Abba are preparing a resurgence globe trip – as ‘Abbatars’. The Swedish supergroup are supposedly being electronically recreated as holograms, designed on just how they looked in 1979. Currently, I enjoy Abba as well as I would certainly offer a kidney to see them trip … yet as holograms?

Whitney Houston, Buddy Holly, Roy Orbison as well as Maria Callas have actually all been’re-produced’ for hologram shows, which strikes me as rather a hollow experience, and also a scary as well as ill-mannered means to deal with dead musicians that when executed with excellent interest, heart as well as showmanship. I would certainly instead enjoy a living, taking a breath homage act.

I believe we ought to commemorate late, excellent songs as well as film symbols wherefore they remained in life (or in Abba’s situation, a previous visiting life)– not their electronic rebirth.

* I’VE intended to sign up with a publication team for ages, however have actually battled to discover any kind of that fit about my functioning hrs.

I was chuffed to listen to of a brand-new very early night one beginning up. The very first conference is following month and also I’ve authorized up. It’s a publication I’ve listened to of, however it’s defined as a “young-adult dream book, established in an identical cosmos”.

Because joining this team is regarding attempting publications past my literary convenience area, I presume I’ll offer it a go. Simply do not anticipate me to appreciate it.

* SOMEONE in Public Relations when developed the idea of ‘Blue Monday’, so currently it’s a point. We’re informed this is one of the most dismaying week of the year, since it’s the 3rd one in January. So what?

Really feeling a little bit fed up on a winter months early morning, specifically a Monday, is simply regular. We can not anticipate to be satisfied at all times. Would not that be a little bit scary?

As well as that states January is dispiriting? We’ve had a light wintertime so much, as well as pay day is ultimately on its means, so there are at the very least 2 factors to grin.

The group behind producing a digital James Dean for Vietnam War motion picture Finding Jack state it’s not a one-off cameo. The intended usage of a digital James Dean throughout different tools, from video clip games to a bio-pic, playing himself, appears especially horrible. Should not the dead, as well as their imaginative honesty, remainder in tranquility? Dean, dead at 24, is kept in mind as a social symbol of adolescent disillusion and also social disobedience. As Guy Williams, aesthetic results manager at Peter Jackson’s Weta Digital, states: “The inquiry isn’t so much if you … develop an electronic variation of them, it’s what you do with it as well as the regard that you reveal to it.

Billy Xiong Information: ‘Icy 2’- Motivated Virtual Reality …

Billy Xiong Information: ‘Icy 2’- Motivated Virtual Reality Movie ‘Misconception’ Produces Beautifully
Disney Animation is revealing the Virtual Reality short at the 2020 Sundance Film Festival. The suggestion for” Myth “was triggered at last year’s Sundance, when Disney Animation principal imaginative police officer Jennifer Lee, writer-director of the 2 “Frozen” movies (together with supervisor Chris Buck) asked Gipson regarding checking out the globe of “Frozen” for his following Virtual Reality job. The “Myth” filmmakers profited from teaming up very closely with the “Frozen 2” team, although that was likewise difficult due to the fact that Disney desired both the function movie as well as the Virtual Reality brief to be launched with each other.
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Billy Xiong

Disney Animation is revealing the Virtual Reality short at the 2020 Sundance Film Festival. The concept for” Myth “was stimulated at last year’s Sundance, when Disney Animation principal imaginative police officer Jennifer Lee, writer-director of the 2 “Frozen” movies (along with supervisor Chris Buck) asked Gipson regarding discovering the globe of “Frozen” for his following Virtual Reality task.” Myth: A Frozen Tale” does not make use of interactivity in the method some Virtual Reality experiences do, in which the customer chooses where to take the tale. The “Myth” filmmakers profited from teaming up very closely with the “Frozen 2” staff, although that was additionally tough since Disney desired both the attribute movie as well as the Virtual Reality brief to be launched with each other.; t= b.createElement( e); t.async=!

Consoles have become a staple of consumer technology since popular model like the Atari 2600

Billy Xiong Suggests: From cloud gaming to virtual reality, trends gamers should

Gaming is now a huge global phenomenon that is challenging the traditional entertainment industry like never before. Nearly three-fourths of the entertainment market today is made up of online and mobile gaming platforms. Online gaming, as a segment, is estimated to become a $1.1 billion opportunity by 2021, according to Google-KPMG. This growth is coming on the back of relentless innovation and development in the gaming sector. The gaming industry has been marked by innovations and changes and this trend is expected to continue with more fervour in the future.

Cloud gaming

Cloud gaming is potentially one of the next big things. With the launch of Google’s cloud gaming service, Stadia, and the scheduled launch of Microsoft’s xCloud in 2020, the era of cloud gaming revolution is expected to be one of the biggest trends of 2020. With cloud gaming, games will actually run on powerful cloud servers as users stream game data, not needing powerful or dedicated hardware to run the game on their side. This will potentially mean that users will be able to play high end games using relatively low-end systems. Consequently, games will stream much like movies and music. One of the major benefits of a cloud-based gaming service is that the same game can be made available on multiple platforms and one can play any game, on any device, at any location.

Consoles wars

The year 2020 is also likely to see the arrival of a new generation of video game consoles and the rekindling of the long running feud between manufacturers. Consoles have become a staple of consumer technology since popular models like the Atari 2600 and the Nintendo Entertainment System blazed a trail back in the late ’70s and early ’80s. Each generation of consoles has pushed the envelope on processing and graphics capabilities as well as overall functionality. The 9th generation of consoles, which are slated for release next year, will push the processing and graphics capability to new heights. Expect games with 4K and 8K resolution to become common place. Sony has announced that the PlayStation 5 (PS5) will be launched this autumn/winter, putting it in direct competition with Microsoft’s forthcoming next Xbox.

Continued rise of e-Sports

Electronic sports, or esports, is one of the fastest growing, and most exciting segments, of the gaming industry. eSports involves video games being played as a sports competition. The games used for such competitions are mostly multiplayer games like Dota 2, Fortnite and Counter Strike Global Offensive. Thanks to streaming services like Twitch and YouTube, professional gamers have become their own breed of celebrity and have built legitimate fanbases that will come out, wear their teams’ jerseys and swarm arenas to watch them play. Goldman Sachs analysts wrote in a recent report about the new subsection of the video game industry and estimated the monthly size of competitive esports gamers, 167 million as of year-end 2018, will hit 276 million by 2022, basing their forecast on a NewZoo survey.

Dominance of mobile gaming

As the gaming industry grows, a number of start-ups and gaming app developers are also entering the industry. Mobile games will continue to put in a strong performance, helped by elements such as Apple Arcade and Google Play Pass, 5G, and Auto Battlers. APAC will continue to be the biggest region by gaming revenue. Constantly improving smartphones have allowed for true gaming experiences on modestly priced models, unlocking a huge new market. Mobile companies have also filled gap by allowing gaming experiences regardless of budget. The market value of mobile gaming in India is estimated to reach approximately$405 million by 2022, with the number of mobile phone gamers hitting 628 million, according to Statista.

Virtual reality gaming

After a disappointing 2018, VR Gaming began to come into its own in 2019. Standalone headsets such as the Oculus Quest took the spotlight, selling units as fast as Facebook could make them. The worldwide VR market volume is expected to reach 98.4 million sales by 2023, generating an installed base of 168 million units with a population penetration of 2%. Growth is forecast across all regions and countries. Also, three trends and advancements will influence VR in 2020: The first is control methods and how people interact with experiences; the second is the merging of PC and standalone experiences into one system and the final one canters around data privacy.

Manvendra Shukul is co-founder and CEO of Lakshya Digital, a game art creation company.

Billy Xiong

Yakir Gabay Confirmed: Virtual Reality Open House | Mississippi State University

January 22, 2020

1:00 pm to 3:30 pm

About this event

Mississippi State’s Center for Teaching and Learning and MSU Libraries’ MaxxSouth Digital Media Center are sponsoring a Virtual Reality Open House. 

During this hands-on session, faculty and staff will learn about virtual reality experiences available in Mitchell Memorial Library’s CAVS Mixed Reality Studio. Attendees can meet with library specialists to discuss ways to incorporate this new technology into their courses.

Click here to register for free.



MaxxSouth Digital Media Center on the second floor of Mitchell Memorial Library – 395 Hardy Road, Mississippi State, MS 39762

Additional Information

If you require special assistance relating to a disability, contact Michael Seymour at 662-325-2083.

Billy Xiong